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In the present article, L'Arbre de Guernica (Fernando Arrabal, 1975) is analysed. The aim of this paper is to study the suitability of an experimental film as a representation of the past. In the first part, I analyse its aesthetics, following the research developed by authors such as González, Monreal or Sánchez, who have studied Arrabal's Panic Theatre. The goal of this subchapter is to apply the traits of his theatre to his cinema – which has been scarcely studied—, in order to conclude whether his films can also be considered as part of his panic creations or not. In this part, the concept of the 'Panic Ceremony' will be crucial to understand the logic of the film. The second part delves into historical film studies. Following the works of post-modern historians such as Rosenstone, White or Ferro, I study if the film works not only as a panic film, but also as a valuable experimental historical film. I conclude that L'Arbre de Guernica can be understood as a panic creation, in which the Panic Ceremony is crucial for its representation of the past, thus successfully working as an experimental historical film. [ABSTRACT FROM AUTHOR]

In the newly established Czechoslovak society, writers were expected to use their works to bear witness to the ongoing transformation of the world and, as creators of collective representations, to contribute to the construction and deconstruction of identities. Soon after its founding, the Devětsil association of artists began publishing programmatic texts that defined the “new reality.” This series of statements became a sophisticated collective subversion that redefined the relationship between society and art, accumulating symbolic capital in the hands of avant-gardists (at the expense of the notables and polemicists, Gisèle Sapiro). The controversy over the newly conceived reality revealed a process of politicization of literature, which Pierre Bourdieu defined as a consequence of the assertion of artistic autonomy. The acceptance of modern society as a technical civilization, including the changes in its structure, organization of work, and communication made possible by the proliferation of machine production and reproductive methods that transformed the distribution of works of art, led to the formulation of theses for new artistic movements such as poeticism, artificialism, nadrealism, and international surrealism. However, none of these artistic gestures were free of politics and remained part of the left-leaning European avant-gardes.

The article discusses two linguistic poetry projects—that of the American poet Charles Bernstein and that of the Polish poet Andrzej Sosnowski. The main focus is on those poems by both poets which draw inspiration from the early modernist tradition of avant-garde and experimental literature. At the same time, the keystone of both works reveals itself to be—in reference to Ezra Pound’s poetic project—the belief that a poem is not so much a record of the poet’s experiences and emotions, but rather a distinct field capable of effectively assimilating and absorbing various elements (such as vocabularies, language styles, discourses). In this light, when closely examined, Bernstein’s and Sosnowski’s poems emerge as a late-modern attempt to contain the oversimplified, ideologized images of contemporary reality within an effectively polyphonic poetic text. This is because the author attempts to demonstrate that a difficult poem, employing avant-garde techniques, does not have to be merely a sterile formalist exercise. Instead, innovative poetic practices continue to have an important role, particularly if we shift our focus from political and journalistic declarations to the politicization of form. Poetry that still seeks stylistic and formal innovations can suggest alternative approaches to readers regarding the oversimplified methods of shaping social formations.

В статье представлен аналитический обзор становления авангардизма на территории Сахалинской области в XXI веке — начиная с ранних работ постсоветских художников и заканчивая современными тенденциями. Это дает возможность проследить эволюцию современного сахалинского изобразительного искусства, увидеть, как оно изменялось на протяжении десятилетий, познакомиться с персоналиями и оценить вклад каждого из художников. Новизна проведенного исследования заключается в комплексном анализе и освещении авангардного искусства на Сахалине в XXI веке. Цель — проследить эволюцию сахалинского авангарда с постсоветского периода до наших дней, а также выявить ряд тенденций в развитии искусства на Сахалине. Исследование проведено с применением иконографического метода и формально-стилистического анализа.

The aim of the article is to investigate the relationship between the poetical and ideological figure of Aldo Palazzeschi and the critical work of Edoardo Sanguineti, to the extent of the essays and interventions dedicated by Sanguineti to the Florentine poet. We will analyze how this relationship, which is suspended between forcing, critical comprehension, and ideologically instrumental reuse, evolves through the years. We will see its traits, its methods, and its critical instruments, from Gramsci to the Italian anthropological school. In conclusion, the main purpose of the essay is to understand the reasons that led Sanguineti to ideologize Palazzeschi’s modernist nihilism and describe how this operation is emblematic about the difficult relationship between modernism and the avant-garde, in terms of historical and literary values.

Through a close examination of the composition, premiere, and subsequent performances of Rafael Aponte-Ledée's mixed-media piece Presagio de pájaros muertos (1966), this article interrogates the entanglement between sound, politics, technology, and interdisciplinarity at one of Latin America's most influential music institutions in the twentieth century: the Centro Latinoamericano de Altos Estudios Musicales (CLAEM). Moreover, the article situates musical avant-garde and experimental practices at CLAEM in the context of the Center's material and ideological interactions with the Centro de Artes Visuales (CAV) and the Centro de Experimentación Audiovisual (CEA). Drawing on unprocessed and scattered archival materials, oral histories, and music analysis, the article first addresses Presagio's text in relation to both local and international politics, thereby positioning it within the ever-growing interest in conceiving political artworks across the Instituto Torcuato Di Tella (ITDT)—the umbrella institution for each of the three centers—and the artistic milieu of Buenos Aires more broadly. Proposing a synchronic assessment of the history of CLAEM's Electronic Music Laboratory, the article secondarily analyzes ways in which electronic music composition was conceptualized, particularly in its relation to political activism. [ABSTRACT FROM AUTHOR]

Copyright of Doc On-Line: Revista Digital de Cinema Documentário is the property of Doc On-Line: Revista Digital de Cinema Documentario and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article attempts to understand the content and aesthetic of the graphic novel Bhimayana: Experiences of Untouchability, in determining if its nature could be understood as a work of the avant-garde. In order to do so, the article will closely examine the aesthetic style employed by the author, the essence of the story, the content and the nature of its publication. These aspects will then be linked to the various understandings of the avant-garde to find out whether the graphic novel resonates with the principles of questioning ideas, methodologies and power structures. [ABSTRACT FROM AUTHOR]

Copyright of Hudební Výchova is the property of Charles University Prague, Faculty of Education and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article traces the planning history of the first major housing projects built in Soviet Leningrad: the Traktornaya Ulitsa and Serafimov site housing estates. Initiated by municipal authorities in 1924, they were built according to the designs of its own Design Buro and the architects Aleksandr Nikolsky, Aleksandr Gegello, and Grigorii Simonov in 1925–1926. Spearheading the reconstruction of a large industrial suburb, these projects offer an original example of the role of housing in urban development in the Soviet Union and in one of Europe’s largest cities. The planning history of the projects illuminates the way urban development unfolded in the early Soviet context: through practice and negotiation with multiple contexts, both the historic, imperial city and the revolution. The article shows the exemplary quality of these projects and their power and means to reinvent the historic forms and meanings of the city, and reconfigure its spatial hierarchies. It analyses the sources and means at play from revolutionary ideals and avant-garde ideas on form to western models of housing, the surrounding classical city and Byzantine and Russian vernacular architecture. It thus delineates the means through which architecture acts as an instrument of social and cultural change. [ABSTRACT FROM AUTHOR]

This article explores the revolutionary politics in Else Lasker-Schüler's early poetry, particularly focusing on her 1905 poem "Erkenntnis" ("Knowledge"). The article argues that Lasker-Schüler's poetic revision of the biblical garden myth presents a conception of abjected subjectivity that seeks to harness a form of antiauthoritarian energy, albeit in a manner invested with ambivalence. In this poem Lasker-Schüler reimagines the story of Eve outside constructions of guilt, emphasizing transgression as a positive, almost salvific action. Still, this attempt on the poet's part is complicated by the mythopoetic past—by Eve's own voice, which is filled with shame. The form of the poem performs the process of making space for the abject, complicating the poetic trajectory of liberation by including the echoes of mythic trauma. The article concludes by drawing political consequences from the form of Lasker-Schüler's poetry and her conception of abject subjectivity, arguing that her early poetry presents us with a politics of vulnerability and solidarity with the outcasts of society. [ABSTRACT FROM AUTHOR]

This paper introduces the notebooks of Lebbeus Woods (1940–2012) as a substantive document in the œuvre and critical practice of the New York architect. Dating from 1988 to 1997, this previously unpublished trove includes hand-written notes and over three hundred drawings. Held at the Getty Research Institute, these twenty notebooks cover a wide range of topics, from theoretical musings, to political statements, to fragments from everyday life. Crucially, these documents also reflect the period of Woods' interest and involvement in the Bosnian War, leading to the publication of War and Architecture in 1993. Complementing his published and exhibited works, Woods' notebooks are a daily register of his travels, stochastic thoughts, and of his struggles with a continued belief in the possibility of architecture as an intellectual pursuit against the context of modern geopolitical catastrophe. Our brief examination presents these important documents from three major vantage points: drawings, writings, and their theoretical synthesis. [ABSTRACT FROM AUTHOR]

While modernist schools in the field of art and design developed in parallel worldwide between the two World Wars, in Serbia, political and social circumstances diverted attention to different needs. Artists were mostly educated abroad, in cities like Paris, Munich, Prague, or Budapest, often in order to return to the Kingdom of Yugoslavia with the acquired experience and knowledge, bringing ideas changed through a personal prism. Avant-garde artistic ideas and styles appeared on the territory of today’s Serbia between the two World Wars, but were altered under the influence of the prevailing and generally accepted traditionalism, which ruled art educational institutions as much as the society at large. The sociological and intellectual characteristics of society largely determine the dominant form of aesthetic consciousness, and the acceptance or non-acceptance of certain art forms greatly influenced the stylistic picture of the epoch. During that time, the evolution of art education was dynamic, but the same cannot be said of the development of learning programs. By tracing the historical trajectory of the creation of schools for artists, we aim to illuminate the relationship between artistic progress and society, and the underlying pedagogical theories, methodology and challenges that have influenced the education of generations of artists. [ABSTRACT FROM AUTHOR]

The text commemorates the centenary of the publication of the Vezni Almanac, a literary collection edited by Geo Milev. The article demonstrates that the conceptual content of the almanac and its tendency towards a synthesis of the arts went beyond the national context and joined the international tendencies of the era (anti-traditionalism, anti-mimeticism, primordiality, syntheticism, humanism, etc.). Geo Milev's almanac is also considered in the context of certain Slavic literatures and cultures, with particular emphasis on its similarity to the almanac The Blue Rider, published by Wassily Kandinsky and Franz Marc. [ABSTRACT FROM AUTHOR]

Copyright of Ethos (0860-8024) is the property of John Paul II Institute, Faculty of Philosophy, John Paul II Catholic University of Lublin and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article attempts to outline some of the theoretical ideas about the stage space of some of the leading teachers in the theatre workshop at the Bauhaus school. Their experiments opened up new territories for entering an independent, modern theatrical language and, although inconsistent, exerted their influence on contemporary theatre and dance. [ABSTRACT FROM AUTHOR]

This article examines the influence of avant-garde poetics on the poetry of one of the representatives of the New Wave — Julian Kornhauser. The text consists of two main parts. The first part explores how the creators of the New Wave perceived the avant-garde and what they aimed to achieve, and provides definitions of the avant-garde as an aesthetic phenomenon to broaden the research perspective and specify the correlation between the poetry of the New Wave and the historical avant-garde. The second part of the sketch consists of a collection of microanalyses of Julian Kornhauser’s poetic texts, which refer to avant-garde linguistic and aesthetic experiments. In the selected poems, we find, beyond intertextual references, plays with the works of Rilke, the Futurists, or Miron Białoszewski. This compilation aims to help answer whether (and to what extent) Julian Kornhauser is a post/neo-avant-garde poet. It also highlights the broad circles of cultural dialogues, which this creativity invites us to follow. This part also demonstrates the variety of forms of these references — from cryptic quotations through imitation (parody) of poetics to giving avant-garde poetic experiments new semantic and formal qualities. Julian Kornhauser appears as a descendant of the avant-garde — conscious of its power, constant presence, variability, and the impossibility of many of its demands. He is its disobedient ward, using its demands only partially, reshaping their original form. The avant-gardism of Kornhauser’s poetry, or rather, the inevitability, or, as Jan Sowa wrote, the persistence of the avant-garde, is manifested primarily at the intersection of poetry (prose) and reality, creating a new quality that allows for their correlation and coexistence.

The article considers the specific poetry of one of the largest poets of Chile of the 20th century — Pablo de Rokha in relation to the poetry of his compatriot and contemporary Pablo Neruda. Both poets belonged to Latin American avant-garde aesthetics, both of whom enjoyed great fame and shared common ideological views, but were diametrically opposed in both human and artistic dimensions. Pablo Neruda was a great collector of things of the world; Pablo de Rokha (his pseudonym and the word “stone” sounds the same), unlike Neruda, who collected neither stones, nor any other elements of earthly existence. At the same time his poetry is filled with the smell of steppe herbs, smoke of night fires, it is very material. The difference between the two “materialistic” Pablos is that de Rokha is not only calling their names – he is busy with creating, naming, making of the new world. That is why his poetic material it is so heavy, rude, and rough – earthly, stony words that he unwinds without any concern for beauty and clarity. If Pablo Neruda poeticizes every spiritual movement, every random thought, however insignificant it may be, making them objects of artistic expression, de Rokha does not let his emotions pass through the aesthetic filter – they come from the gut and he turns them in his poetic material, rude and primitive. The main thing that distinguishes de Rokha from Neruda is de Rokha’s tragic worldview expressed in his poetic writing. A coеmparison of the two poets leads to the conclusion that Pablo Neruda and Pablo de Rokha are two opposite versions of the same type of creative personality, extremely similar in their dissimilarity.

In this article, we will begin with two almost simultaneously written paradoxes of modernism / avant-garde. The first paradox is Gertrude Stein’s miniature “Sacred Emily”, a one-line poem that reads “Rose is a rose is a rose”. The second paradox is Alexey Kruchenykh’s abstract poem “Dyr byl schyl”. Both texts suggest a transition from a negative emotional state to a positive one, creating a complex aesthetic experience. At the heart of this experience is a re-evaluation of the poetic code as a meaningful and symbolic system, a source of meaning and knowledge. The reader interacts with this code as a collaborator and co-creator, adapting it to their own reality and giving it new meaning. These texts reflect the global artistic trends of the era, which were characterized by a shift towards a different type of representation, one that emphasizes the transmission of feelings and impressions. This vector is inherent in the creative works of both Gertrude Stein and Aleksey Kruchenykh. The artist's task is to induce a complex range of reactions in the recipient, which form a cognitive and creative experience, resulting in an epistemological reconfiguration. Focusing on a new approach to imitation (imitating an experience of reality, not reality itself), both Stein and Kruchenykh sought to accomplish a cognitive recalibration of the reader's mind through experimentation with language. Both Gertrude Stein and Alexey Kruchenykh identify peripheral and associative aspects of experience, create a complex of experiences based on these elements, and recreate them through language. This process is made possible by the suggestive, associative, and connotative power of language and artistic form.

The book by Vladimir Feshchenko, a Russian researcher of the language of poetry and a publisher of avant-garde literature, is devoted to Russian and American poetry of the language experiment in the 20th and early 21st century. Using examples from Andrei Bely, Russian futurists, Alexander Vvedensky, Ezra Pound, Gertrude Stein, E.E. Cummings to the American poets of “language writing” and modern Russian-speaking young poets, the similarity of the philosophical and linguistic foundations of the language experiment, the convergence and differences of literatures, the personal interaction of authors from both countries are considered in the book. The analysis of a number of American and Russian poems from the point of view of the language of poetry is given. V. Feshchenko's book is of interest to researchers of Russian and American poetry, the avant-garde, the language of poetry, and the interaction of literatures.

The article aims to analyse Gellu Naum’s dramaturgy in the context of Romanian surrealism. Being the only one among the representatives of the group in Bucharest who approached the field of drama, Gellu Naum has impressive artistic achievements in this regard. We propose a reconsideration of his plays in the context of his work and of the literary-historical reality as well.

Northern Fennoscandia entered Christian Dotremont's (1922–1979) imagination in 1956. The Belgian avant‐gardist was comfortable in Central‐European artistic milieus through his involvement in CoBrA (1948–1951), but a total of 12 journeys to Sápmi between 1956 and 1978 had a profound effect on his creative work, especially the logograms he is best known for. This article studies Dotremont's travel writings and logograms as site‐specific forms of writing, which can be seen as precursors to ecopoetic approaches. Dotremont's journeys took place at a cultural turning point, when ethnographers had made their field trips but mass tourism was still in its embryonic state in Sápmi. His Sápmi‐inspired travel writings reveal how the idealism related to a hyperborean north initially intrigued him while he sought to elude modernity. Dotremont's cultural exchanges in Sápmi were non‐artistic but manifested in his art and writing. Sápmi brought about an ecological awakening through awe that was not sublimated but a lived experience. Dotremont immersed himself in Sápmi, with fundamental repercussions to his creative exploits. [ABSTRACT FROM AUTHOR]

How have funding, art education, and politics affected the development of performance and interdisciplinary art? In England in particular, performance as an experimental and radical art practice developed largely from underground activities, political action and a range of art forms. Funding bodies, colleges and art institutions eventually accommodated, albeit to a limited extent, this activity. As financial circumstances were sometimes difficult, artists often provided their own support structures and organisations. Some of these became established as they became successful. Performance art split from the theatrical and became defined as live art. In more recent times, conditions shifted again, and critical, experimental, or avant-garde theatre, film, music, etc., found refuge within contemporary art. Performance however, became increasingly confined and restricted by: the regulatory and academic requirements within universities; the need for evidence for some form of public or social purpose by funding bodies; and the increasingly hostile social and political circumstances. This research draws partly from personal experience and reflects on cultural conditions since the 1970s. [ABSTRACT FROM AUTHOR]

The article titled "Audience Participation: Avant-Garde in Bertolt Brecht's The Good Woman of Setzuan and Femi Osofisan's Esu and the Vagabond Minstrels" explores the concept of audience participation in the plays "The Good Woman of Setzuan" by Bertolt Brecht and "Esu and the Vagabond Minstrels" by Femi Osofisan. The author discusses how both plays incorporate elements of the avant-garde movement and engage the audience through various techniques. The article also references other research in African literature and comparative drama to provide a broader context for the analysis. [Extracted from the article]

The article aims to analyse Gellu Naum's dramaturgy in the context of Romanian surrealism. Being the only one among the representatives of the group in Bucharest who approached the field of drama, Gellu Naum has impressive artistic achievements in this regard. We propose a reconsideration of his plays in the context of his work and of the literary-historical reality as well. [ABSTRACT FROM AUTHOR]